'Sonic X-Voice' - Human Vocal Patch from our Klaus Schulze Tribute video with Sonic XV Eurorack VCF

video upload by AJH Synth Official

"This Patch of The Week shows how the vocal sound was created that featured in the Klaus Schulze tribute video. It uses the Sonic XV Diode Transistor Ladder Filter for both it's band pass filter, and it's built-in wave folder. Patch sheet at the end of video, plus a download link for a PDF version with notes further down the page. Musical Tribute to Klaus Schulze: https://youtu.be/VA-Io4jVKbA

The Sonic XV is a surprisingly flexible multimode VCF - it can do the kind of aggressive, screaming resonance chaos that you'd expect from some of the famous diode filter-wielding synths of the past, but it's also particularly good at softer, delicate sounds, and having a well-featured wave folder on board gives it a much wider scope for tone-shaping. This, coupled with it's fast response, and simultaneous band pass, 6dB and 24dB low pass outputs, makes it a great choice for fast melodic sequences and percussion sounds. It's character is significantly different than that of the Minimoog-based Transistor Ladder Filter, and compliments it nicely, even if only used for it's wave folder to feed other VCF's. Sonic Wave Folder & Sequencer: https://youtu.be/pJUb-ZEddqQ

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by @DreamsOfWires

Patch sheet with notes: https://kvisit.com/8AE/x_8G

Patch notes:
--------------------
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
DH-ADSR: As we are using the inverted output here, it will constantly be sending a +8V signal to the LIN-CV of the VCO (therefore raising it's frequency/pitch) until it receives a gate signal, at which point it will follow the envelope settings, starting from an output of 0V. This is why the VCO will need re-tuning to match other instruments used, but preferably after you are happy with the amount of envelope to pitch influence you have dialled in. Dual LFO: The Tap Tempo VC-LFO module could also be used here in the same way, as it also has a built-in VCA (level control). Sonic XV: Small differences in wave folder settings can make a big difference to the sound, so it'll probably require some fine-tweaking to get the ideal timbre. I have added some resonance in this version, as it can help to simulate the tone of a human voice, but this is of course subjective - all voices are different. Band pass is definitely the best filter type to use, as it can remove both high and low frequencies that would be beyond those produced by a human voice. Modules used from left to right: DH-ADSR Envelope, Dual LFO + VCA, Vintage Transistor Core VCO, Sonic XV Diode Filter, Contour Generators, Discrete Cascaded VCA."

Polyphonic: Using the Keystep Pro for 4-Voice Polyphony in Eurorack Modular - with AJH Synth MiniMod

video upload by AJH Synth Official

"This video demonstrates the Arturia Keystep Pro controlling a MiniMod system in polyphonic mode, and show's how to enable up to 4 voices of polyphony on the Keystep Pro controller keyboard. The MiniMod system uses just 4 VCO's, envelope generators, VCF's and VCA's to supply 4 simple, single-oscillator voices, which are then complimented by either an LFO or noise source to add interest to the sound. This really is about as spartan as you can get for a modular 4-voice setup, so adding further modules would greatly expand it's sound palette, but this is just a proof of concept. Since it's fully modular, even with such a simple voice structure a surprising range of sounds can be achieved.

This was partly inspired by the earliest polyphonic synths, which were initially huge modular systems controlled by polyphonic keyboard controllers, and then the first polyphonic Oberheim synths, which controlled 4 or 8 individual monophonic synth voice modules individually (the superb-sounding SEM), each needing to be setup and tuned. However, this meant that each voice was free to be whatever the user wanted - similar or completely different than the others, something conventional analogue polysynths can't do.

The Gemini 2412 is used here as it has extensive multi-mode filter options, and conveniently contains 2 fully-featured VCF's per module, but also since it is directly based on the filter from the classic SEM module. A pair of Contour Generators serves as a simple and convenient dual envelope per module, although here they are shared for both VCF and/or VCA.
It's unlikely that many would buy a complete modular system purely to use as a polyphonic synth, but as your system grows it may eventually provide sufficient modules to be used in a poly configuration, even just as 2 voices, such as here: [posted here]

POWER: This module setup and PSU is just an example of the concept - it isn't necessary to arrange the modules in this way, and you should always ensure your power supply is sufficient to provide significantly more power to your selection of modules than is needed, across the +12V, -12V, and 5V power lines. For example, in this setup I'm using roughly 400mA on the -12V rail, but the PSU only provides 500mA to -12V, so this is pushing it a little too close to the limit than is ideal. Modulargrid.net is a great tool to use for designing your system and calculating your power needs, but also consult your PSU's documentation for advice on power usage.

MODULES USED:
Vintage Transistor Core VCO x4
Gemini 2412 x2
Contour Generators x2
Discrete Cascaded VCA x4
Dual LFO + VCA x1 (optional)
Entropic Doom x1 (as a noise source, optional)
Precision Voltages (as an offset for Gemini D-FCV, optional)
V-Scale x1 (as a buffered multiple, optional)

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by @DreamsOfWires"

'Für Klaus' - Tribute to Klaus Schulze, a Eurorack Modular Performance #eurorack #synth #ajhsynth

video upload by AJH Synth Official

"On this channel Sunday 8th @7pm GMT - a 13-minute track recorded as a single-take performance, and a purpose-made tribute/dedication to the late Klaus Schulze. The piece is inspired by his music directly, creating some sounds akin to those he used in the late 1970's, even including one of his sequences. Much of it was composed and rehearsed, whilst some of it was improvised, but I suspect much less so than Schulze's works, which were often much longer, involving more improvisation and more instruments. This piece consists of just three voices across 4 audio tracks/channels, altered or converted in real-time during the performance to achieve different sounds.

As a creator of electronic music, Schulze was one of the most significant influences for me (the video creator). His music, his attitude towards it in the interviews I read of his, and the way he worked alone to create dense, fascinating, complete musical performances and soundscapes, at a time when the technology was in it's infancy, and before later technologies such as complex computer sequencing, sound creation, processing and mixing were available. As a solitary musician, his was a great, empowering example. His bravery to improvise, experiment, and co-exist with imperfections, embracing them rather than fearing them, makes me warm to the artist and the music even more. Schulze used, among others, an early Minimoog (leads) and a large Moog modular system, which he customised with additional modules over the following years. Since the core AJH MiniMod system is directly based on the early, more desirable R.A.Moog version of the Minimoog, yet is entirely modular, it makes a great choice for this homage to one of electronic music's greatest pioneers.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires

Modules used:
Vintage Transistor Core VCO x6
Transistor Ladder Filter
Gemini 2412 Dual State-variable VCF
Wave Swarm
Ring SM
Glide + Noise MkII x2
Next Phase
Dual RVG
Tap Tempo VC-LFO
Sonic XV Diode Ladder Filter
Contour Generators x2
Muting Mixer
Dual LFO + VCA
Discrete Cascaded VCA x3"

Patch of the Week: Whistle Lead (Tomita/Tangerine Dream) Using self-oscillating Filter/VCF as a VCO

video upload by AJH Synth Official

"This sound is inspired by lead sounds of the 70's/80's from Isao Tomita and Tangerine Dream (Remote Viewing), but will also be reminiscent of Kate Bush's 'All we ever wanted', and even Jeff Wayne's 'War of The Worlds' musical. It uses a filter/VCF in self-oscillation as a VCO, controlling it melodically, with envelopes and noise to help recreate the sounds. No VCO/oscillator is needed in the patch, and white or pink noise is optional, but necessary to get a Tomita-like whistle sound. Tomita originally used a Moog modular system for these sounds, so given that the AJH Synth MiniMod system and it's Transistor Ladder Filter are directly based on the early R.A.Moog version of the Minimoog, it's possible to get very close to such sounds. However, I've not tried to emulate it exactly, but you can see that the basis for this patch is very easily customisable, so it's a very useful synth patch to understand for a variety of musical applications. Patch sheet PDF can be downloaded here: https://kvisit.com/8AE/rv4G

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end, with notes below, to show you how to construct it for yourself.

Video by DreamsOfWires

Index:
00:00 Intro
00:29 Performance Example & Overview
02:22 Assembling the patch
03:14 Importance of envelope
03:42 Delayed LFO/Vibrato
05:25 Adding Glide
06:12 Adding Noise
06:56 Mod wheel control of LFO
07:36 Noise as Filter Mod source
08:16 Patch Diagram

Patch Notes:
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
This is based on the version in the video with noise mixed in as audio, and glide applied to the keyboard CV. For variations without noise or glide, and usage with a mod controller, see the appropriate part of the video (check Index). Only a couple of connections need to be changed for these purposes.
V-Scale: Used here as a simple multiple, but since it's handling Gate signals any passive multiple could be used.
DH-ADSR: Another Contour Generators could be used instead, but the advantage with the DH-ADSR is independent control of both Decay and Release, meaning greater control. It serves as a great companion to the Contour Generators for this reason.
Dual LFO: The Tap Tempo VC-LFO module could also be used here in the same way, as it also has a built-in VCA (level control).
Ladder Filter: The Gemini 2412 would also work well here, it's tracking in self-oscillation is actually better overall. It would just need to have high resonance/self-oscillation enabled by the rear jumpers (see online manual or video user guide). The Ladder Filter struggles to track at lower frequencies, this is an authentic characteristic of the original Minimoog filter, but it's fine for the pitch/note ranges used in this video. The Sonic XV will also self-oscillate, but it's ability to track 1V/Oct is not as tight as the Gemini.
Modules used from left to right: Glide + Noise (Mk I or Mk II), V-Scale, DH-ADSR Envelope, Dual LFO + VCA, Contour Generators, Transistor Ladder Filter, Discrete Cascaded VCA."

MiniMod & Ribbon Controller - AJH Synth Eurorack Ambient with Gemini 2412 'SEM' style Dual Filter

video upload by AJH Synth Official

"A 2-voice ambient performance using the Doepfer ribbon controller with the AJH Synth MiniMod eurorack modular system, here incorporating the Gemini 2412 'SEM-based' dual multimode filter/VCF. Simple 2 note/2 VCO chords are shifted in pitch with the Ribbon, and pressure sensitivity used to control the Gemini's overall frequency, and the level of pitch vibrato from the Dual LFO module, which has a built-in VCA. A third VCO via the Transistor Ladder Filter creates a single oscillator drone sound (a square wave with pulse width modulation/PWM), whilst the Dual LFO also modulates the frequency of this VCF, and both VCF's on the Gemini in position to each other. The Gemini is used as a stereo filter, with both going of it's VCF's going to separate VCA's and audio channels to creates a stereo panning effect.
The Gemini can be used as 2 filters in series, or in stereo with a single audio input signal, but here both filters are processing a different VCO via their individual inputs, whilst the global Dual Frequency CV function of the module's central mix bus section allows them both to be controlled in unison, in addition to, or instead of their own individual CV control. This offers a huge amount of flexibility.
A suitably large reverb is added in post to add a film/movie soundtrack quality to the sound.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires"

Expanding the Mother 32 - Sub-octaves, wave multipliers & extra VCO's for chords & vintage fatness

video upload by AJH Synth Official

"Here are some ideas for expanding the sonic possibilities and fattening up the sound of the Moog Mother 32 analogue synth - We're sometimes contacted by customers who have, or want to add AJH Synth modules to theirs, as the Mother 32 has great connectivity for Eurorack integration, so hopefully this will video will show a little of what is possible. The Mother 32 has a single oscillator, so the most obvious choice would be to add more VCO's, in order to perform harmonies and simple chords, but also it doesn't have a sub-bass, or sub-octave generator, so this may also be worth considering. In this video we demonstrate both of these options, using the MiniMod Vintage Transistor Core VCO's, the Ring SM to generate sub-octaves and as a CP3 style mixer, but also the Wave Swarm to simulate multiple stacked sawtooth waves. We also use the Sample Hold & Slew to generate rhythmic, random filter modulation, the Precision Voltages as a convenient way to select precise octave and semitone pitch changes of VCO's, and use the V-Scale to address 1V/Oct scaling/tracking issues that may occur when using the Mother 32 to control external VCO's or other instruments via CV.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Index:
00:00 Introduction/Overview
00:53 Sub-octaves/sub-bass (Ring SM)
02:40 Sawtooth multiplication (Wave Swarm)
03:50 Ring SM as CP3 Input mixer
04:44 Using it with a sequencer
06:33 Sample & Hold filter mod
08:37 The need for the V-SCALE
09:09 Adding more VCO's
10:25 Using the Precision Voltages
11:19 Multiple VCO's & a sequencer

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself: https://youtu.be/89bv0dI8yw4

Video by DreamsOfWires"

'Radiophonic Randomness' - Using the RANDOM VOLTAGE EVENT GENERATOR to make retro scf-fi sounds

video upload by AJH Synth Official

"Just for fun... Some lo-fi sounds/noises created with the help of the Dual RVG Eurorack module, providing random voltages and clock/gate signals, and demonstrating it's ability to multi-function, here providing 4 control signals. It's just an experiment really, since the author of this video is such a fan of the early adopters of analogue synths and the sounds they created, from the BBC Radiophonic Workshop's low-budget TV and radio soundtracks, to the first, less melodic synthesizer experimentations of Klaus Schulze, Tangerine Dream, and others.

Many of these involved the instruments and tools created by a small English company called EMS (Synthi, VCS3), and the Dual RVG by AJH Synth is directly based on one of their rarest products - the Random Voltage Generator. These would be incredibly hard to find now, and expensive, so having the same functionality and vintage circuit design in just 14hp of Eurorack space is a great alternative. The Dual RVG is a limited edition, only 500 units were to be made, but there are still some left as of writing this. It is an authentic vintage design, and it's behaviour faithfully recreates this character - organic in it's uncertainty and anomalies, unlike modern digital modulation sources. A very unique, but useful tool for generative music, experimental sound design, but also melodic composition and performance, especially when used with a quantiser and/or sequencer (see here: [posted here])

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself: [posted here]

Video by DreamsOfWires"

'A Space Odyssey' with the LUNAR MODULE - Performance with lo-fi sample processing in eurorack

video upload by AJH Synth Official

"This week's Patch of The Week was inspired by the movie '2001: A Space Odyssey', and uses the LUNAR MODULE by AJH Synth to process audio samples from the film, whilst various other Eurorack modules build the accompanying melodic drone to provide the musical backing.

The Lunar Module is an audio processor and noise generator, which also features distortion, a bit-reduction/bit-crushing effect, and a recreation of the 'Quindar' sounds (beeps) used in the actual NASA Apollo space program/missions of the 1960's to early 70's. In conjunction with the Lunar Module's other sound processing tools this can be used to simulate the lo-fi audio transmissions of the time and then applied to anything. All the features are also useful individually, from a customisable noise source, to adding distortion and bit-reduction to any incoming audio or Eurorack level signals, even melodic sounds. This performance originally appeared at the end of the Lunar Module User Guide video - check it out for all the details on what it can do and how to use it.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself: https://youtu.be/89bv0dI8yw4

Video by DreamsOfWires"

Lunar Module User Guide - Vintage Space Mission Audio/Mic/Sample/Synth Effects for Eurorack

video upload by

"The Lunar Module is a fun Eurorack module for recreating the sound character of early space missions, or adding noise and bandwidth limitation to mics, line-level audio, samples, and synth modules. It's effects can be triggered manually, or from gate signals, and include noise with colour control (a bipolar low pass and high pass filter), hum effects with frequency control, variable distortion, and 'Quindar' - an authentic beep used at the beginning and end of transmissions from the Apollo space capsule back to the NASA Huston control centre.

As with all AJH Synth modules, the Lunar Module is designed to be played, and it's pots and jack sockets are made easily accessible so that live tweaking is not hindered, and controls are all substantial in size and spacing. Most are based on vintage synthesizer circuits and designs, bringing the sounds, behaviour and character of classic synths to Eurorack modular, but with the advantage of modern reliability, compatibility, flexibility, and understanding of the needs of modern musicians.

00:00 Intro
00:13 Overview
00:59 Installation Guide
02:12 Inputs & Controls
09:07 Use with Samples
14:43 Use with Microphones
16:29 Use with Synths
19:43 With Other Audio Devices
22:06 A Patch Clip
23:53 A Short Performance"

Video by DreamsOfWires"

Step Sequencer & Fixed Filter Bank 914 - An alternative to a VCF for sculpting sequences

video upload by AJH Synth Official

"This 'Patch of The Week' shows the Fixed Filter Bank 914 being used instead of a typical voltage-controlled filter to sculpt the sound of a step sequencer pattern, and also how on this particular module the sequencer can also interact with it for more variation and movement. The module is based on the original 914 unit from the vintage Moog modular systems, something Klaus Schulze was very keen on using as part of his 'Big Moog' that he used for much of his music career.
Here the excellent Doepfer Dark Time sequencer is used, but any dual, or combination of 2 step sequences could be used.
Downloadable Patch sheet link and patch notes further down the description.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires

Index:
00:00 Intro
00:26 Background to this patch
01:42 The Patch
06:56 Patch Sheet/Diagram"

Patch of The Week: 'Melodic Doom' - How to use the Entropic Doom noise oscillator melodically

video upload by AJH Synth Official

"An improvisation using the Entropic Doom noise oscillator as a melodic instrument, controlled by a step sequencer. It's pretty much a voice in it's own right - a noise source, resonant 4, 3, or 2-pole voltage controlled filter, which will self-oscillate and track a 1V/Oct signal, along with a separate XOR based Ring Modulator and a Cmos gate based VCA. In this video I also use the Sync and audio input functions with a VCO. Additionally, I show the Dual RVG module serving as a master clock to the sequencer, and producing random timing for the sequencer steps, as well as additional random voltages for the Entropic Doom's frequency.

Downloadable Patch Sheet: https://kvisit.com/8AE/-vwG

Video by DreamsOfWires

PATCH NOTES:
------------------------
Green dots show approximate pot and switch positions, and where there are 2 dots on the same pot, this indicates the range I adjust them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
PRECISION VOLTAGES: Used to shift pitch intervals on the Entropic Doom from the incoming sequencer pitch CV. During the video I add 7 semitones and 1 octave at different points using the A switches.
DUAL RVG: This is being used for 2 purposes - To generate random frequency modulation of the Entropic Doom at the start, in addition to the frequency changes generated by the sequencer, which means a wider and more varied range of frequencies can be achieved than just using the pre-chosen frequencies set by the sequencer. It's just to add more randomness and chaos to the initial apocalyptic noises. It is also used to create random sequencer step timing, via it's Time Vary function. It sends gate signals to the sequencer and serves as it's master clock. As I unveil the melody I reduce this time variation until the sequencer timing becomes regular, or normal. The sequencer will need to have some form of Clock Input (perhaps Sync or Gate In), marked here by the green cable. VCO: This is also connected to the sequencer CV out, either by buffered multiple, or by using CV bus via the Glide + Noise as in the video, then the Glide's CV OUT should go to the Precision Voltages IN A. A triangle wave was used as the Sync source (purple cable), and square was used as the audio source. Tuning here is arbitrary, and dependent on your sequencer.
ENTROPIC DOOM: The base pitch of the module will be set by using the Frequency pots (FREQ-C & FREQ-F) to tune it, once the resonance level is high enough, more clearly so in 4-pole mode. FCV-IN here is only used for the random voltages coming from the Dual RVG, which I gradually remove as I unveil the melody from the sequencer.

Index
00:00 Intro
00:26 'Melodic Doom'
06:30 Patch sheet"

Patch of The Week: Analogue Kick Drums in Eurorack with the AJH Synth MiniMod Modular Synth System

video upload by AJH Synth Official

"A simple analogue kick drum patch easily recreated in Eurorack, or even some self-contained synths. This isn't modelled on a particular classic or vintage kick sound, but uses a common process for creating such a sound that is easily tweakable to suit your own ears. Check out our past 'Patch of The Week' videos for other percussion sounds, including analog claps, and using a self-oscillating filter to create various claves, rim shots, cowbell, even a rudimentary kick.

Video by DreamsOfWires

PATCH NOTES:
------------------------
Download PDF with diagram - https://kvisit.com/8AE/qvwG
Green dots show approximate pot and switch positions, and where there are 2 dots on the same pot, this indicates the range I adjust them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
GLIDE + NOISE: I used the white noise in this patch - not all vintage kick drum sounds used a noise source, but it is optional based on personal taste. I find it gives the sound a more similar character to a real kick drum, whereas without it the sound is more distinctly electronic.
VCO: A good kick sound can be generated using just the filter in self-oscillation, but using a dedicated VCO provides greater flexibility, especially when combining with other audio sources, such as white noise. Base pitch and level of Exp CV from the envelope should be experimented with.
VCF: Envelope control of filter frequency will not make much difference to the sound without the white noise, as then you would only be filtering a triangle wave. This is why I've simply copied the envelope that's also opening the VCA.
ENVELOPE: Ideally there needs to be separate envelopes for the VCO and the VCA/VCF, as one is controlling pitch, and the other volume (& tone), which both have a very different impact on the sound. A pair of DH-ADSR's would offer greater dynamic control, as mentioned in the video, but the CONTOUR GENERATORS is fine too.
VCA: The DISCRETE CASCADED VCA allows a little bit of overdrive when input levels are pushed. Even more so when used with the GAIN SWITCH (See our other videos), but also the MUTING MIXER can be used, as it's built around the same VCA circuit and has a built-in overdrive function."

Offset Explanation & Performance with the CV MIX & Multi Burst Envelopes (for Ratcheting effects)

video upload by AJH Synth Official

"This video will explain using a fixed voltage as an Offset on the CV MIX module, and uses it help create variable ratcheting effects during a sequence, using the Multi Burst Envelopes module, which is ideal for this task, especially since you can sync envelope repeats via a sequencer, or other external clock.
In the first part of the video Offset and the built-in attenuation on some modules is explained, then in the second an explanation of the patch I'm using it in, and finally in the third part a short, simple performance.

Index:
00:00 Intro
00:32 Offset Explanation
03:35 Patch Explanation
07:37 Patch Performance

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires

PRECISION VOLTAGES & A SEQUENCER - Creating note intervals/chords during a sequence/performance

video upload by AJH Synth Official

"A short performance showing the PRECISION VOLTAGES module by AJH SYNTH to alter the tuning of VCO's, in this case whilst running a sequence from a pattern/step sequencer. This is really useful for introducing pre-tuned note intervals between oscillators, even to create simple chords, adding a whole new dimension of interest to pattern-based performances.

The module can be used to add or subtract multiple octaves or semitones from incoming CV signals, which in itself has a wide range of uses, but it can also generate fixed voltages, either to create continuous VCO pitches, or for adding offsets to CV signals for modulation, etc. It can even be used to combine CV signals, but more about the in the future 'User Guide' video for the module.

I'm using a Doepfer Dark Time sequencer as 2 separate 8-step sequencers. The output of this sequencer can be transposed by MIDI, so I'm using the Keystep simply as a MIDI keyboard for this purpose, but the actual sequencing is from the Dark Time.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

DreamsOfWires"

Ratcheting Effects with the TAP TEMPO VC-LFO Eurorack Module and a Step-Sequencer

video upload by AJH Synth Official

"This Patch of The Week shows a way of achieving racheting effects in sequences using the Tap Tempo VC-LFO - the new voltage-controlled low-frequency oscillator from AJH Synth. It involves using one row of 8 steps to control the pitch of the sequence, whilst a second row controls the LFO, determining the multiplication of the clock speed, which is set by the sequencer's gate output. This LFO then controls both filter and VCA like a repeating envelope generator, and it's clock speed is tied to that of the sequencer. The TAP TEMPO VC-LFO is a very powerful 16-waveform LFO module. Here only a simple sawtooth wave shape is used, but it contains many unusual and complex waves that are suitable for a huge range of applications, 15 of which can be twisted, modifying their wave shape in a similar way to square wave pulse width modulation. Two of the waves are similar to sample & hold, where random voltages are generated. All waves share the same clock behaviour and can be synced to external CV, which makes the module great for use with sequencers. A built-in VCA with level control, along with both bipolar (LFO type) and unipolar (envelope type) outputs."

Video by DreamsOfWires

New TAP TEMPO VC-LFO 16-Wave Eurorack Module by AJH Synth

NEW! TAP TEMPO VC-LFO 16-wave voltage-controlled modulation Eurorack module with VCA, Int/Ext clock
video upload by AJH Synth Official

"The TAP TEMPO VC-LFO is a skiff-friendly, 42hp Eurorack low frequency oscillator. It's a modulation powerhouse, with 16 waveforms, 15 with 'wave form twist' PWM-like control, random sample & hold type waves, and CV control over all functions.It can serve as a clock source, or can be clocked by external pulse/gate signals, with a clock multiply/divide function, along with a built-in VCA controlling both bipolar (LFO type) and unipolar (envelope-type) outputs. It's great for everything from simple expression-controlled pitch vibrato, to clocking or being clocked by sequencers for time-synced modulation, and generative patches, where randomness and/or time control is needed to be shared between different modules.

This video is a brief introduction to the module, but following 1 hour after this upload will be a full USER GUIDE VIDEO detailing all functions, along with some example patches.

Check out the AJH Synth playlists for more module USER GUIDE videos, and 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires"

via AJH Synth

Every modular system needs modulation sources to add variety and interest to static sounds. The more powerful and versatile the modulator, then the more interesting these sounds can become. We compiled a wish list of useful features, starting with obvious ones such as CV control of Frequency, Tap Tempo, Unipolar and Bipolar outputs and a wide range of waveforms, and then we just kept adding more features such as waveform twist, rate multiplication, Sync In/Out and an inbuilt dual VCA for modulation level control. Then we made sure that we had voltage control (and therefore automation) available for every single feature. This takes it way beyond the realms of regular LFO's and make the Tap Tempo VC-LFO a modulation powerhouse.

Ergonomics are important too, it can really spoil the workflow if we have to stop and refer to the user manual to find out what some obscure control or jack socket does - so it follows our usual format of having a very clear, intuitive and uncluttered front panel. All of the jack sockets are in two rows at the bottom, with the inputs on the left and outputs on the right hand side.

The Tap Tempo VC-LFO is available with either a Black or Silver front panel.

Shine On You Crazy Diamond - A Pink Floyd classic Minimoog lead sound recreated on a MiniMod system

video upload by AJH Synth Official

"How to guide with Patch Sheets: An interpretation of the classic lead sound from the intro to Pink Floyd's 'Shine On You Crazy Diamond Part 1', which is believed to have been recorded using the Minimoog synthesizer. The AJH Synth Mini Mod system is a Eurorack modular recreation of this classic analogue synth, and in this video just the modules from the standard Mini Mod system are used to create the lead sound. An additional, simple background drone is created using another system, comprising 3 VCOs, Wave Swarm, Ring SM and Sonic XV Diode Ladder Wave filter.

Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires

Index:
00:00 Intro
00:32 Shine On... Part 1 Intro
02:43 Patch sheet - Lead
02:54 Patch Sheet - Drone

PATCH NOTES:
(Download - https://kvisit.com/8AE/z_oG)
------------------------
LEAD SOUND
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
This patch uses only the modules contained within a standard MiniMod voice, which is the equivalent of a Minimoog, simply for a little more authenticity, as this is the synth that was believed to be used on the original Pink Floyd recording. The version here is our interpretation of it, and not intended to be an exact match, so opinions will differ as to the setting used, but we feel it's pretty close. For example, it's possible the Minimoog's MOD MIX control was used on the original to mix VCO 3 and Noise modulation to affect the pitch and filter, but here it would require an additional module to mix both signals, and simply adding Noise as audio sounds very similar, whilst allowing greater control of both.

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Velocity & Aftertouch - How to control VCA/LFO/VCF with the MiniMod Eurorack Modular Synth

video upload by AJH Synth Official

"Some ideas and basic procedure for using keyboard velocity and aftertouch with the AJH Synth modular system. This can add a lot of expressiveness to your patches, all that's required is a keyboard controller that outputs these functions, whether it be a CV-equipped controller, or a MIDI/USB controller connected via a Midi to CV converter.

This video shows velocity being used to control VCA volume, aftertouch controlling LFO/vibrato amount, and both controlling filter frequency, but since this is modular these control signals can be used to manipulate pretty much anything that has a CV input. In some cases using it with the CV Mix will be particularly helpful to adjust the range of the controller's output to suit the intended target, allowing the CV to be simultaneously amplified, offset, inverted, and/or combined with other CV's.

I'm using an Arturia Keystep, which has a 'Mod' CV output - this can be configured in software to output either velocity, aftertouch, or the position of the 'mod wheel' touch strip.

Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires

Index:
00:00 Intro
00:37 Velocity & VCA volume
01:51 Velocity & VCF frequency
02:45 Aftertouch & LFO vibrato
04:01 Aftertouch & VCF frequency
05:08 Fine-tuning with CV MIX"

How to use Gated Slew with a Sequencer - Gate signals explained + Sample Hold & Slew module tips

video upload by AJH Synth Official

"Slew allows you to slide/glide between notes in a sequence, like those famous TB-303 Acid House tracks and a whole range of other electronic music styles, but if it's not built into your synthesizer it might be confusing how to achieve it, particularly as there are so many sequencer options available, many of which function differently from each other. This video shows how 3 popular desktop step-sequencers can work with the Sample Hold & Slew module - the Doepfer Dark Time, Korg SQ-1, which are both akin to vintage analogue step sequencers, and the Arturia Beatstep, which functions more like a Roland SH-101. I used just one MiniMod VCO going into the Sonic XV Diode Ladder Filter, since the TB-303 also has a diode ladder VCF, and here I've used it in just 6dB mode for extra squelch! However, I'm also using the Sonic XV's built-in wave folder to significantly change the timbre of the incoming triangle wave. The Sample Hold & Slew can function as a separate gated slew module, with selection of up or down slew only, whilst the sample & hold part of it can be used independently, serving as 2 individual modules in 1. Or both functions can be combined, so that random voltages can slide from one to the next, even at very slow speeds, which is great for modulating gradually evolving drone sounds. The Colour and Restrict controls can be used to fine-tune a more desirable range of random frequencies from the noise source. An external clock can be used to sync the random voltages with other modules, sequencers or keyboard gates.

Additionally, audio can be passed through it to use as a noise source for the sample & hold or track & hold. At high clock speeds this feature can be used a very lo-fi bit-crusher, and slowing the rate down will gradually mangle the audio further, eventually reducing it to random beeps!

Check out the AJH Synth playlists for more 'Patch of The Week' videos, which will be either performances or 'how to' guides detailing a range of sounds, some familiar, some less so, and each containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires

More Videos:
Blade Runner & Vangelis CS-80 Patch [posted here] 'Destination Not Berlin' Performance: [below] Index:
00:00 Intro
00:27 How it works
02:42 Using Doepfer Dark Time
03:35 Using the Korg SQ-1
04:15 Using the Arturia Keystep
08:15 Using CV to control Slew
10:26 Example usage with Sample & Hold"

Performance: Destination Not Berlin - All-analogue Melodic Set using AJH Synth Eurorack Modular rig.

video upload by AJH Synth Official

"This live melodic modular set by 'tomorrow the cure' was originally intended for Superbooth 22 in Berlin, but had to be cancelled due to hearing problems. Since the set was ready to go I thought I'd record it to share with you as another example of what a Mini Mod system can do, and what it can sound like. If this appeals to people there'll be more performance videos in the future, showing AJH Synth modules being used as they're intended - to make music. Hopefully these videos will be an inspiration to people, and compliment the 'User guides' and 'Patch of The Week' videos, which will continue to serve as more practical, or instructional videos.

I've dedicated this performance to Klaus Schulze, who passed away recently. His approach to making music and the sounds he created were a great influence of mine personally. Since then Vangelis has also passed. Fortunately we will always have the gift of their music, both to listen to, and be inspired by.

Performance breakdown:
The synth rig used is based around two voices from just 3 VCO's, 1 of which is paired with a Ring SM, which serves as a waveform mixer, and provides a -1 sub-octave. This then feeds the Gemini 2412 filter, whilst the VCO's triangle goes to the Sonic XV for processing by it's wave folder. All of this is mixed in the Muting Mixer & VCA on the top row. This is responsible for the melodic notes and sequence of the first 8 minutes, the drone in the following section, and then the final sequence.

The other 2 VCO's are going to the Ladder Filter, or the Wave Swarm, which is then passed to both the Ladder Filter and the Fixed Filter Bank 914. These are mixed in the middle row's VCA, and the intervals between the pitch of the 2 VCA's in controlled by the Precision Voltages module. This provides the drone in the first 8 minutes, the played notes/chords thereafter, and the choir-like drone during the final section.

Through the sequencer I switch the keyboard control from one voice to the other. I edited out the re-patching between parts to shorten the video - I took my time over the process as my hearing was still not 100%.

Tracks in this performance:
00:00 Intro
00:31 Part 1 - Opening piece
02:15 Part 2 - 'Monotherapy' from 'Grey Days & Old Ways', 2019
07:47 Part 3 - 'Miserere' from 'Two Voices', 2022
17:33 Part 4 - Untitled...
Parts 2 & 3 are available at https://tomorrowthecure.bandcamp.com

'Two Voices' was recorded entirely using the AJH Synth Mini Mod system - the same modules used in this performance. As was 'One System', and the majority of both 'Grey Days...' and 'Lost Soundtracks'."

AJH Patch of The Week: Sample & Hold & Sequence - Sequencer-synced random filter modulation

video upload by AJH Synth Official

"A simple patch showing how you can use a Sample & Hold module to spice up your sequences, by having it generate a new voltage on each sequence step, then using it to modulate the filter in a way that adds interest and variation to each note or beat. This technique has been used in electronic music since the 1970's, and it can still sound great. It will also work with an arpeggiator, which is what I use in the video, or simply the gate output of a keyboard controller played manually.

Patch Sheet PDF for this video: https://kvisit.com/8AE/z_kG
Patch notes also further down the page.

Index:
00:00 Intro
00:23 Setting up the patch
01:00 How it sounds
01:56 CV MIX & combining modulation
03:32 Using DUAL RVG for S&H
04:28 Patch Sheet

Patch Notes:
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
VCO: This is arbitrary for this patch - I'm using 2 VCO's and pink noise from the Glide + Noise module to provide a mix of frequencies, but you can use any audio source.
VCF: I used the Ladder Filter as it's a more common filter type, but it will work with any VCF, and I'd recommend trying band pass with something like the Sonic XV, as that will scoop both the high and the low frequencies as the Sample & Hold modulates it.
Sample & Hold: The Rate control isn't needed here, because the incoming clock replaces the internal LFO. Multiples: Any can be used, it's simply to allow the Gate signal to be sent to both envelope generator and Sample & Hold clock input.
Envelopes & VCA: Again, any can be used, such as the Contour Generators and Muting Mixer & VCA. On the VCA's, always start with levels low at first.
Modules used from top-left to bottom-right: Glide + Noise, Vintage Transistor Core VCO x2, Transistor Ladder Filter, Sample Hold & Slew, Gain Switch (or multiple), DH-ADSR Envelope, Discrete Cascaded VCA."

AJH Synth NEW! MULTI BURST ENVELOPES

NEW! MULTI BURST ENVELOPES - An 8-shape envelope generator, with multiple time-controlled repeats video upload by AJH Synth Official

"An introduction and brief overview of the new MULTI BURST ENVELOPES from AJH Synth." Video by DreamsOfWires

The MiniMod Multi Burst Envelopes module generates variable length bursts of repeating envelopes that can change over time, with CV control of all functions.

The BURSTS control selects a 'Burst Sequence' of between 1 and 40 bursts. The envelope shape of a burst is chosen with the rotary switch, or it can be varied using an external CV, so that it is even possible to chose a different envelope shape for each individual burst in a sequence.

The width of the envelope (i.e. the attack and decay time) is varied with the P-WIDTH control and this can also be CV controlled as a sequence is progressing, so it is possible to vary the envelope speed of each individual envelope burst while a Burst Sequence is running.

The repeat time of individual bursts in a Burst Sequence is set with the LFO Rate control. The LFO rate can be varied with an external CV as a sequence is progressing, so the gap between envelopes can speed up or slow down over time. An external clock can also time the bursts in a burst sequence instead of, or in addition to the internal LFO. Bursts can also be manually incremented with the CLK push button.

The SLOPE control allows Bursts to start quietly and build in level to maximum, or they can start at full level and then reduce in level as the Burst Sequence progresses. In the centre position all Bursts are of equal level.

Full USER GUIDE video available 30 minutes after this video goes live.

Check out the AJH Synth playlists for more 'Patch of The Week' videos, featuring 'how to' guides detailing a range of sounds, some familiar, some less so, some with a short performance example, and each containing a patch sheet at the end to show you how to construct it for yourself."